... but this one is almost jet black so that's all right then. Josiane Balasko was part of a group of writer-performers known as 'Equipe du Splendid' that worked the Cafe Theatre scene in Paris in the late 1970s - Cafe Theatre is still flourishing in Paris with upwards of 50 venues in full swing - and it is amazing how many of them have since made their mark on the large screen, Christian Clavier wrote and co-starred in 'Les Visiteurs', Marie-Ann Chazel appeared in the same movie as the 'clochard', Gerard Jugnot has written and acted in several films and last year wrote, directed and starred in 'Monsieur Batignole' whilst Thierry Thermitte - who co-wrote the film version of 'Nuit d'Ivress' (Drunken Night) with Balasko - the stage version is still playing in Paris after 18 months - has perhaps the highest film profile of all, co-starring with Philippe Noiret in the Ripoux series ('Le Ripoux', 'Ripoux contre Ripoux' and last year 'Ripoux 3', as well as co-starring with Jacques Villeret in the International success of Francis Veber's 'Diner du Cons', soon to be ruined by Hollywood as Dinner of Schmucks). In this effort Balasko features herself as a thirty-five year old spinster - though 'dog' is one of the kinder epithets used about her - who through one of those mistakes so beloved of script writers is contacted by a sort of Satan hanger-on hoping to progress downwards, a sort of Clarence, from Capra's 'It's A Wonderful Life' in reverse. He SHOULD have targeted Balasko's hedonist mum but once he convinces her of his powers they are off to the races and one of the first off-color scenes involves Balasko being transformed into a gorgeous blonde, getting the guy who doesn't know she's alive to attempt to seduce her and then seducing HIM via a phallus thoughtfully provided by Auteuil. From there it's downhill and laffs all the way, if that's what lights your fire, as we say in the nether regions. 7/10

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

Jean-Pierre Léaud in The 400 Blows (1959)

The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

Will Ferrell, Angela Grillo, and Lap-Gei Cheung in Anchorman: The Legend of Ron Burgundy (2004)

The fantasy genre features imaginative and often magical worlds, characters, and events. It explores realms beyond the boundaries of reality, featuring elements such as magic, mythical creatures, supernatural powers, and fantastical settings. These stories can take place in entirely fictional worlds or blend fantastical elements with real-world settings.

Elijah Wood in The Lord of the Rings: The Fellowship of the Ring (2001)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

A middle-aged single French woman (Balasko) falls in love with an annoying demon (Auteuil).

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Ma vie est un enfer

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